Pieter Hugo has garnered critical acclaim for his series of portraits and landscapes, each of which explore a facet of his native South Africa and neighboring African countries, including the film sets of Nigeria_s Nollywood; and toxic garbage dumps in Ghana; and sites of mass executions in Rwanda, as well as albinos, the Hyena Men of Nigeria, honey collectors, and garbage scavengers. Kin , a collection of images shot throughout South Africa over the past decade, focuses instead on the photgrapher_s family, his community, and himself. Writer John Mahoney characterizes it as the artist_s first major work to focus exclusively on his personal experience in his native South Africa, a place defined by centuries of political, cultural, and racial tensions and contradictions. Hugo describes his series as _an engagement with the failure of the South African colonial experiment and my sense of being _colonial driftwood._ South Africa is such a fractured, schizophrenic, wounded, and problematic place . . . How does one take responsibility for history, and to what extent should one try? How do you raise a family in such a conflicted society?_ This work attempts to address these questions and reflect on the nature of conflicting personal and collective narratives.